text:
Joint Support Ship named after Battle of Queenston
Posted November 4, 2013	by DND
NIAGARA-ON-THE-LAKE, ONTARIO–(Marketwired – Oct. 25, 2013) – The Honourable Rob Nicholson, P.C., Q.C., M.P. for Niagara Falls, Minister of National Defence, today announced the names of the Royal Canadian Navy's (RCN) new Joint Support Ships (JSS), which will be built by Vancouver Shipyards Co. Ltd. in North Vancouver, B.C. The two Joint Support Ships (JSS) will be named Her Majesty's Canadian Ship (HMCS) Queenston and HMCS Chateauguay in recognition of the significant battles of Queenston Heights and Chateauguay during the War of 1812.
"The names recognize the achievements and sacrifices of those early Canadian soldiers who fought and died in these critical battles during the War of 1812," said Minister Nicholson. "The War of 1812 was a defining moment in our nation's history that contributed to shaping our identity as Canadians and ultimately our existence as a country."
"Canada's rich military history is a source of inspiration for the men and women who currently serve in the Royal Canadian Navy," said Vice-Admiral Mark Norman, Commander Royal Canadian Navy. "The events surrounding the War of 1812 remind us of the sacrifices of soldiers and sailors who fought for their country during a pivotal moment in Canadian history."
Traditionally, the name of a class of warship is derived from the name of the first vessel in this class to be constructed. HMCS Queenston will be built first, therefore, the two JSS will be known as the Queenston-class.
These ships will provide underway replenishment capability, for fuel and other supplies, and offer hospital facilities and strategic sealift for operations ashore. They will ensure that the military can continue to monitor and defend Canadian waters and make significant contributions to international naval operations. The JSS will provide Canada with a modern, task-tailored, globally deployable support capability for naval task groups for extended periods.


text:
#ifndef TENSORFLOW_COMPILER_JIT_REPORT_CLUSTERING_INFO_PASS_H_
#define TENSORFLOW_COMPILER_JIT_REPORT_CLUSTERING_INFO_PASS_H_

#include "tensorflow/core/common_runtime/optimization_registry.h"

namespace tensorflow {

// This is not really an optimization pass.  It does not change the graph in any
// way; instead it computes a summary of the XLA clusters in the graph and
// broadcasts it via xla_activity_listener.
class ReportClusteringInfoPass : public GraphOptimizationPass {
 public:
  Status Run(const GraphOptimizationPassOptions& options) override;
};
}  // namespace tensorflow

#endif  // TENSORFLOW_COMPILER_JIT_REPORT_CLUSTERING_INFO_PASS_H_

redpajama_set_name: RedPajamaGithub


Ly, Linh Thao and Rinderle, Stefanie and Dadam, Peter and Reichert, Manfred (2005) Mining Staff Assignment Rules from Event-Based Data. In: Proc. Workshop on Business Process Intelligence (BPI) in conjunction with (BPM'05), Nancy, France.
Ly, Linh Thao and Reichert, Manfred (2005) Process Mining. EMISA Forum, 25 (2). pp. 58-59.


Georgie James is a DC duo featuring Laura Burhenn and John Davis. You may know Davis as the drummer for that fine art-punk band Q and Not U that released a bunch of great records on Dischord before disbanding a couple years ago.
But don't let Davis' background fool you into thinking you know what Georgie James is going to sound like before you even listen. This is not punk. Rather, the duo creates romantic pop melodies that breeze along as easy as a hammock in a Corona commercial. Sure sometimes their songs do rock out a little, but it's more in a tap-your-toes sort of way.
All the pretty piano parts come courtesy of Burhenn. Everything else (bass/drums/guitar) are Davis' duties. They both trade off vocals regularly, so it's a good thing for us that they both can harmonize admirably (Burhenn's breathlessness can sounds like Chan Marshall at times). Georgie James' debut is due out on Saddle Creek (Bright Eyes, Two Gallants) in the fall of '08.


As a digital art curator at 23VIVI.com, I follow upwards of 30 big-time art magazines to stay up to date on art creation and news. After implementing feedly into my daily routine, I can now consume double the amount of content in less time.
Pre-feedly, I was literally using an Excel spreadsheet to keep track of all the magazines that I was visiting weekly. I would record what site I was visiting, the day I last checked it, and the title of the last article, so I could pick up where I left off. Sound like a hassle? IT WAS!!!
After being introduced to feedly, I honestly lost 10 pounds of stress. It was by far the easiest, most effective tool I use to augment my career. Not only do I follow those same magazines that I was already subscribing to, but I was exposed to countless other publications that feedly offers in my space… and now they are all in one place. Along with that, I did away with the email subscriptions, which were immensely cluttering my workflow. Not to mention, I don't risk ever missing a single article or post, which is imperative to my profession.
The typical curator goes to school to study Art History and might apprentice under a known curator until they have the skills to put on their own exhibitions.
We are in a new era of digital art, though, that doesn't require all the technical training. One has an Art History degree at their fingertips at most libraries. Many big-name curators can be followed on social media, where you can get a feel for their curation efforts.
So, it ultimately comes down to getting your hands on lots of content, so that you can begin noticing trends, formulating hypotheses, and putting together thought-provoking collections.
On my path to becoming a "curatorial expert," I'm relying on feedly to feed my content needs—much like Indiana Jones relied on his whip—haha! To avoid limiting my hunger for creative ideas, I use feedly's Collection feature to break up my content and feed into various categories: Photography, Physical Design, Graphic Design, Art News, Pop-Culture, and Visual Art. This allows me to not only keep things organized but also easily pull influences from various art mediums.
Because I swim through so much content on a daily basis, it is very easy to get lost in the immensity. To augment this problem I use the tag and "save for later" features to create collections of art that work well together. I can easily communicate with my team what my thoughts are on our newest curated collection and show what influences me.
With feedly, anyone with an aptitude for creativity, noticing patterns, and expressing their thoughts through creation can become a digital art curator.


text:
History & Origins
The Loomis Chaffee Log
Virtual Learning Off to a Challenging Start
Edward Park '23, Contributor
April 27, 2020|31 Views
As the COVID-19 pandemic has forced Loomis Chaffee to close its campus for the rest of the year, the school has made the decision to transition to online learning for the remainder of the school year. Loomis has adopted Zoom as the online platform through which to conduct virtual teaching. Class schedules were modified to best accommodate students who live in different time zones.
Required to move courses online with only a few weeks notice, faculty and students have already faced challenges in their new learning environment. For example, Loomis Chaffee was not free from "Zoombombing" or "Zoom raiding" by uninvited participants, and some students are experiencing fatigue due to a time difference.
I believe that online learning is not without its flaws. Personally, being used to physical interactions with peers and teachers, I found Zoom hard to adapt to. Furthermore, having to attend classes from 9:30 p.m. to 1:30 a.m. due to differences in time zones, I found it difficult to concentrate as drowsiness set in.
Students have expressed concerns about the newly adopted 50-minute class format, which is 25 minutes shorter than a traditional class. Some students feel that classes are often rushed and materials are not covered in sufficient detail.
"I believe that some material is briefly explained and the class moves on right away as there isn't much time for further explanation. However, in the classroom environment, the teacher would typically slow the class down for greater clarity," Justin Wu '22 said.
I ag that class material is being taught in a hasty manner and that the teachers have had less time to explain certain ambiguities.
Additionally, many students feel that online classes lack a sense of community due in large part to the lack of student interactions.
"It's hard to learn as I don't get to have physical interactions, which greatly helps me feel involved while learning," DQ Nguyen '22 said.
Others feel that Zoom's intimidating speaker spotlight feature, which directs the attention to the person talking, discourages them from speaking up in class.
"I feel that the spotlight feature makes some of my peers who usually speak up several times during classes not want to speak up as they feel insecure about the camera being directed towards their face, " Jim Le '23 said.
It is likely that the longer the online learning continues, the more improvements will be made to accommodate students' concerns, especially as a survey circulated this past week. Virtual learning will also become more familiar to faculty and students. Although the Loomis Chaffee community is in positive spirits to adapt to this new environment, I look forward to returning to campus to engage more deeply in Loomis classrooms.
Spotlighting Senior Athletes: Nalinda Wanikpun and Eamon Moylan
The New Freshman Experience
Breaks from Year-Long Classes are a Scheduling Change for the Better
Administration Makes the Right Call to Reopen Campus
The Evolution of Athletes Taking a Stand the Right Way
thelclog
We are happy to announce that The Log has released
The Log has just published the 2020 Commencement i
Head over to our website to watch an informative i
38 members of The Log gathered for a Zoom meeting
Three-Course Terms Reign Supreme Over Two-Course Terms
COVID Regulations Increase Day Student Divide
Cut Down on Plastic: Bring Your Own Utensils and Water Bottles
Legacy Admissions: Only One of Many Issues with the College Process
Pandemic Prefect: Still an Essential Role
COVID Snitch Hotlines: Why Bother?
How the schedule promotes excessive screen time and what Loomis can do to fix it.
U.S. Healthcare Reform: For or Against?
The Student Newspaper of The Loomis Chaffee School

redpajama_set_name: RedPajamaCommonCrawl


text:
'use strict';

var redsess = require('redsess');

function Redission (routes, cookiename, cookieexpire, redisclient, keys) {
  this.routes = routes;
  this.cookiename = cookiename;
  this.cookieexpire = cookieexpire;
  this.redisclient = redisclient;
  this.keys = keys;

  this.redSession = function redSession (req, res, cb) {
    var entrypoint = req.url.split('/')[1];

    if(routes.indexOf(entrypoint) > -1) {
      var session = new redsess(req, res, {
        cookieName: cookiename,
        expire: cookieexpire,
        client: redisclient,
        keys: [keys] // this becomes a keygrip obj
      });

      req.session = session;
      res.session = session;

      req.session.get('auth', function (err, auth) {
        if(err) throw err; // This should catch errors in the future
        if(!auth && routes.indexOf(entrypoint) > -1) {
          req.session.legit = false;
          cb();
        }
        else {
          req.session.legit = true;
          cb();
        }
      });
    }
    else {
      cb();
    }
  };
}

module.exports = Redission;


text:
You are here: Home > GP IT systems set for major...
GP IT systems set for major overhaul as DHSC launches procurement process
The Government has launched the procurement process for providers of new GP IT systems, marking the first shake-up to the market in over a decade
2 January, 2019 01:42 PM | By Sofia Lind
The Government has launched the procurement process for providers of new GP IT systems, marking the first shake-up to the market in over a decade.
The Department of Health and Social Care said the 'GP IT Futures framework' would open up competition to more providers and ensure more systems were available that are suited to 'the digital age'.
The Government said it would introduce 'minimum technical requirements' for systems to be able to 'talk to each other securely' and be 'continuously upgradable'.
Also under the terms of the new panel, providers must hold patient records using 'cloud' technology.
They must also be comply with the DHSC's vision for every patient in England to be able to access their GP via online or video consultation by 2023/24.
The news comes as the Government's framework for GP IT systems has not been subject to a full review since 2007.
Under the current GP Systems of Choice framework practices can choose to use TPP SystmOne, EMIS Web, InPS Vision or Microtest Evolution - although the vast majority of practices use either EMIS Web or SystmOne.
As previously reported by our sister publication Pulse, practices may be forced to switch systems if their current provider does not meet the new requirements set out by the DHSC.
EMIS announced in November that its new EMIS-X system would move patient records onto the cloud and that Patient Access would begin to facilitate GP video consultations.
NHS Digital chief executive Sarah Wilkinson said this 'next generation of IT services for primary care' would 'give more patients easy access to all key aspects of their medical record and provide the highest quality technology for use by GPs'.
She said: 'In addition, we intend to strengthen quality controls and service standards, and dramatically improve the ease with which GPs can migrate from one supplier to another.
'We are committed to working with existing and new suppliers to deliver these extended capabilities for the benefit of GPs and patients. We're very excited about the huge opportunities that will arise from improving the sophistication and quality of these services.'
Health and social care secretary Matt Hancock said: 'Too often the IT used by GPs in the NHS – like other NHS technology – is out of date. It frustrates staff and patients alike, and doesn't work well with other NHS systems. This must change.
'I love the NHS and want to build it to be the most advanced health and care system in the world – so we have to develop a culture of enterprise in the health service to allow the best technology to flourish.
'I want to empower the country'sbest minds to develop new solutions to make things better for patients, make things better for staff, and make our NHS the very best it can be.'
Sofia Lind


Feeling oneness with all life around .... early Summer walks.
The above photos are from "real" Secret Herb Garden here in Edinburgh. Great walk along the relatively quiet road (avoid traffic hour and Fridays!), walking from the foot of Pentlands at Hillend towards Ikea. By the way, we did return to Secret Herb Garden in November and had some of their lovely kale leftovers (in form of garlic-kale chips, they were fantastic, never mind healthy)!
Below is my own secret miniature garden and few radishes before the slugs had chance to feast on them all.
Another walk along the Union Canal to the Ratho Climbing Centre and those amazingly blue poppy flowers and sudden torrential rain were taken in the Edinburgh Botanic Garden.


The Managed Change™ Academy offers organizational change management learning programs designed to develop the broader and deeper competencies required to build, manage and sustain change capable organizations.
The ability for organizations to successfully manage change is a competitive advantage and a market differentiator. Organizations that decide to leverage Managed Change™ certifications earned by change practitioners, coaches and experts as a foundation for building change management capability will be more successful in meeting business goals and objectives. Successful organizations move through each competency level from Practitioner to Coach to Expert. The foundation of building change capability is adopting the Managed Change™ Methodology and leveraging an Enterprise License that authorizes companies to fully integrate Managed Change™ into business strategies and processes. Emerging change capable organizations must also recognize and accommodate the need for individual and team competency development as well as expert coaching, consulting, and assessment support.
Explore organizational change management training programs from the Managed Change™ Academy. Click on the links to learn more.


text:
Q: API Яндекс-карт: как прикрепить фотографию к метке? Как прикреплять изображение к метке, чтобы оно открывалось щелчком на балуне?

A: balloonContentBody отвечает за содержимое балуна метки. Соответственно, чтобы добавить картинку необходимо в одинарных кавычках добавить HTML-тег img.
В атрибуте src указать путь - ссылка на изображение в интернете.
Обязательные атрибуты: высота и ширина.
balloonContentBody: ''

Пример кода для метки:
var point = new ymaps.Placemark([0, 0], {
        balloonContentHeader: 'Париж',
        balloonContentBody: '',
        balloonContentFooter: 'Париж - столица Франции',
    }, {
        preset: 'islands#darkOrangeDotIcon'
    });

A: Я реализовывал примерно таким образом функцию добавления меток на карту (здесь используется добавление по адресу, а не по координатам)
function addPointToMap(address, text = "") {
$.get("https://geocode-maps.yandex.ru/1.x/?apikey="+API_KEY+"&geocode=" + address + "&format=json", function (data) {
    let coord = data.response.GeoObjectCollection.featureMember[0].GeoObject.Point.pos.split(" ");
    myMap.geoObjects
        .add(new ymaps.Placemark([coord[1], coord[0]], {
            balloonContent: text
        }, {
            preset: 'islands#icon',
            iconColor: '#0095b6'
        }))
    });
}

По аналогии можно написать для готовых координат:
function addPointToMap(coord, text = "") {
    myMap.geoObjects
        .add(new ymaps.Placemark([coord[1], coord[0]], {
            balloonContent: text
        }, {
            preset: 'islands#icon',
            iconColor: '#0095b6'
        }))
    });
}

Внутрь text можно поместить свой html код с картинкой

redpajama_set_name: RedPajamaStackExchange


The aura is an energy field that surrounds and penetrates the human body. Clairvoyants and healers describe it as an egg-shaped field of lights and colors. The aura extends beyond the body anywhere from a few inches to several feet. A special type of photography called Kirlian photography has even been able to capture the aura on film.
If the person continues to be angry around you, their energy will filter down even closer to the emotional layer of the aura. Now you may be upset when you see the person coming towards you. You may feel angry yourself, sad, or simply irritated.
Work with a friend. Tell him or her to remember a time when he/she felt a strong emotion, but do not allow them to tell you what they are feeling. Close your eyes. Breathe deeply a few times and imagine that there is a line of light connecting the center of your forehead with the same spot on your friend. Just breath and be calm in this space. Ask yourself what colors and patterns are in your friend's aura. You may have an inner image appear or simply a sense or feeling of what the aura must look like. Report what you have seen to your friend and correlate the colors/patterns with the emotion they were feeling.
The aura patterns can be felt by those sensitive to energy. Try putting your hands about three inches above various areas of the body (heart, throat, the third eye in the middle of the forehead, and solar plexus, just above the navel) each day and tune into the subtle sensations you feel. With time, you can learn to sense energy. See if you can correlate the subtle sensations with your moods at the time. Sensations might include warmth, coldness, a tingling sensation like the fizzes in a cola, or stronger buzzing, as in front of a television screen, spiky feelings, sluggishness, etc. On different days you may feel different things as your mood and energy level fluctuate.
Colors in the aura are widely subject to different interpretation. However, there are some general guidelines. It is important to consider this information but to train yourself to interpret the colors according to your own system of observation. Write down what you see, and as you learn more about the person, keep a log of how that might correlate with the colors you have observed. Experience is indeed the best teacher!
A bright candy-colored red can indicate a passionate and energetic nature often associated with people who are courageous, entrepreneurial, or achievers. A deep clear red is often associated with the root chakra and indicates a physical orientation in life, an adventurer, and often a well-grounded individual.
Bright green is the color of the heart and indicates healing or new growth. People with a great deal of green in their auras are often healers and/or counselors. They are social and love to share. Dark clear green indicates someone who is responsible and ambitious who is likely to work for material wealth and luxury in their life. A muddied green may indicate envy.
Purple indicates a person who has a deep connection with spirit or is pursuing a path of active spiritual growth.
Most of us are unaware of the health of our auras or life energy. We go about our daily business without ever giving a second thought to a very vital part of our lives. For the majority of people, auras are intangible, invisible, and the notion of life energy is purely an idea or abstract concept, not a thing that can be monitored and measured easily like blood pressure or insulin levels. Yet life energy or auras are just as real and important as any other measurement of our health and well-being.
Just because you can't see an aura doesn't mean it isn't there. You can't see a radio wave or an x-ray, but you know they exist. The truth is that auras and life energy can be measured with today's instruments. Modern medicine, being what it is, just hasn't made the technology widely available. Anyone interested in maintaining a healthy aura today must rely on others capable of seeing or sensing life energies. Fortunately, there are many practices available which we can utilize ourselves to help ensure a healthy and balanced aura.
Most people go through life with their auras extended far beyond a healthy range. Many of us have been lead to believe that a big, extended aura is a good thing.
Actually, this isn't the case. An extended aura is susceptible to all sorts of negative energies. Your life energy becomes vulnerable to any negative energy it may come into contact with. It's a bit like walking around in cold weather wearing nothing but your underwear.
You're just asking for all sorts of problems.
Symptoms of an over-extended aura include: headaches, irritability, depression, stress, anxiety, muscle pain, joint pain, nausea, the list goes on.
A quick and easy solution to an extended aura is a few minutes of focused meditation.
You do meditate, don't you?
During meditation, visualize your aura as a vibrating energy field around your entire body. Take some deep breaths and imagine your aura moving in closer to your body with each breath. Do this until you feel that your aura is less than a quarter of an inch from your body surface. Try this exercise anytime that you sense your aura may be too "far out". You will know that this is the case if you start having random negative thoughts or begin to suffer phantom aches and pains. Your aura at those times is picking up on any illness or negativity in your immediate vicinity.
Another easy fix for an extended aura is to soak in a nice long bath. Water has an amazing ability to rejuvenate life energy. Water also happens to compress the aura to its healthiest size. Ever wonder exactly why a hot bath feels so relaxing? Water rebalances our life energy. It's no accident that we spend the first nine months of life submerged in water. Water sustains us.
Your aura may be positioned perfectly and still require some healing. This is often the case when we spend any length of time with truly negative people or suffer from any kind of shock or turmoil. If you are feeling drained or low on energy take some time to recharge yourself, meditate, drink plenty of water, give your body some rest and allow your aura some time to heal naturally.
Another consideration of healthy aura concerns clothing and color. Color can have a direct effect on the health of our life energy. As a rule of thumb aura energy reacts to color in much the same way as light. Dark colors tend to absorb life energy and lighter colors reflect it. Wearing black or dark colors every day can attract any type of energy, whereas lighter colored clothing reflects the energy of others while keeping our own energy insulated. If you are in constant contact with large groups of people you should consider a lighter colored wardrobe. Otherwise, you are likely to absorb the energy of everyone around you, good, bad and ugly. The dark colored business suit really isn't a good idea where aura energy is concerned.
Maintaining a healthy and well-balanced life energy level is a lot less difficult and mysterious than many might think. It requires no more effort than watching what you eat or monitoring your physical reactions to the environment. As with many other aspects of our health, vigilance is the key to a healthy and nurtured aura.


text:
Home / Unlabelled / @itsmazzi "The Building" Album ft Nore, Smoke DZA, Jadakiss
@itsmazzi "The Building" Album ft Nore, Smoke DZA, Jadakiss
The Building on Soundcloud | Bandcamp
album trailer on Vimeo
Twitter [@itsmazzi] | soulpurposecrew.wordpress.com | Facebook | Instagram
New Jersey rapper Mazzi & S.O.U.L. (Sense Of Understanding Life's) Purpose presents his new album The Building, featuring DJ Rob Flow, Quadir Lateef, Eva Lazarus and Ali Baba Abnormal. Previous releases include "Weight" featuring Nore, Smoke DZA and Harry Fraud (listen) and his album The Inspection which was hosted by Statik Selektah and featured Jadakiss, Vast Aire of Cannibal Ox, Homeboy Sandman and Breezly Brewin (listen). Mazzi has shared stages with Eminem, Big Pun, G-Unit, Ghostface, M.O.P., Slick Rick, Erykah Badu and many more. A portion of proceeds from all S.O.U.L. Purpose albums go to charity, and Mazzi regularly travels to Palestine and Israel for humanitarian work, bringing medical supplies and conducting workshops, talent shows and live performances for youth in refugee camps. Proceeds from The Building will build clean water wells & facilities in Uganda & Kenya in conjunction with the Rockwell Foundation & Well Aware.


text:
ลงทะเบียนออนไลน์
Cuban Musicians and Bands
Overview Musicians
Rubén Blades
Ibrahim Ferrer
Benny Moré
Los Van Van
Compay Segundo
Given his warm and flamboyant stage manner, his longevity, his constant tours and appearances in the mass media, Tito Puente is probable the most loved symbol of Latin jazz. But more than this, Puente managed to keep his music notably fresh throughout the decades; like a virtuosos on the timbales, he combined his control over all rhythmic shades with his ways of an older-style showman. Seeing his eyes when he would play a dynamic solo was one of the pleasures he would offer Latin jazz fans.
A trained musician, he was also a great lyrical vibraphonist, talented arranger, pianist, and also played the congas, bongoes and sax. His charm continued reaching out to all ages and ethnic groups, no doubt helped out by versions of Santana's best sellers "Oye como va" and "Para los Rumberos" in 1970-71, and chance appearances in "El Show de Cosby" in the 80's and in the movie "Los Reyes del Mambo" in 1992.
His type of classic salsa does not generally carry a darker sub theme, and is filled with a party atmosphere that is joyful, cheerful and compulsively danceable. With roots in Spanish Harlem, as a descendant of Puerto Ricans, Puente originally tried being a dancer but those ambitions were curtailed by a torn ankle tendon.
At age 13 he began working with Ramón Olivero's big band as a drummer and then began studying composition, orchestration and piano at Julliard and at the New York School of Music. More importantly was the fact that he played with Machito, absorbing his influence; Machito was successfully fusing Latin rhythms with progressive jazz. He formed a band of nine instruments, Piccadilly Boys, in 1947 and then expanded it into a complete orchestra, two years later. He recorded with them for Seeco, Tico and eventually RCA Victor, helping to revive the passion for the mambo, which gave him the unofficial – and ultimately lifelong -title "Rey del Mambo" (the Mambo King) or simply "El Rey" (the King).
Puente also helped popularize the cha-cha-cha during the 50's and was the only non-Cuban to be invited to the government-sponsored "50 Years of Cuban Music" celebration in 1952. Some of the first rate congueros that played with Puente's band in the 50's included Mongo Santamaría, Willie Bobo, Johnny Pacheco and Ray Barreto, which resulted in some explosive percussion shootouts.
Making sure not to paint himself into a tight corner of Latin music, Puente's range extended to big band jazz ("Puente goes jazz"), and in the 60's to bossa nova tunes, Broadway hits, boogaloos, and pop music, although years later he tried going back to older Latin jazz styles popularly known as salsa.
In 1982 he began presenting various Latin jazz albums with octets or big bands for Concord Picante which gave him more exposure and respect among the jazz world than he had ever had before.
A tireless visitor of the recording studios, Puente recorded his 100th record The Mambo King, in 1991 amidst much ceremony and affection (a concert with all Latin music stars at the Universal Amphitheatre in Los Angeles in March of 1992 commemorated the milestone), and he continued adding more titles to his tally throughout the 90's. He also appeared as a guest star in countless records over the years and jazz stars such as Phil Woods, George Shearing, James Moody, Dave Valentin and Ferry Gibas played on Puente's own most recent albums.
A few months after receiving his fifth Grammy, he died on June 1, 2000. Several months later, Puente was acknowledged at the first annual Latin Grammy Awards, winning the prize for the best traditional tropical performance for Mambo Birdland.


text:
Q: A font rendering suddenly got strange in IE I'm using a font called 'Note Sans KR', but the font rendering suddenly got strange in IE.
<input type="text" value="abc"> <input type="text" value="abc"> <input type="text" value="abc">

@import url(//fonts.googleapis.com/earlyaccess/notosanskr.css);
input { width:100px; height:50px; font-family:'Noto Sans KR';}
input:nth-of-type(1) { font-weight:300; }
input:nth-of-type(2) { font-weight:400; }
input:nth-of-type(3) { font-weight:500; }

Test URL : https://jsfiddle.net/ze6suwys/
The result looks like this. Suddenly, only 400-weight font are rendered unusually.

abc abc abc

@import url(//fonts.googleapis.com/earlyaccess/notosanskr.css);
span { font-family:'Noto Sans KR';}
span:nth-of-type(1) { font-weight:300; }
span:nth-of-type(2) { font-weight:400; }
span:nth-of-type(3) { font-weight:500; }

Test URL : https://jsfiddle.net/ze6suwys/2/
The result when dragging is as follows.

abc

abc

abc

@import url(//fonts.googleapis.com/earlyaccess/notosanskr.css);
div { float:left; height:50px; margin-right:5px; border:1px solid black; font-family:'Noto Sans KR';}
div:nth-of-type(1) { font-weight:300; }
div:nth-of-type(2) { font-weight:400; }
div:nth-of-type(3) { font-weight:500; }

Test URL : https://jsfiddle.net/ze6suwys/4/

I'm using IE 11.125 and Windows 10. I don't know why. I wonder if it looks like that to me only. Thank you for reading it.


When you get an email from one of your oldest friends asking you to join her and the nine-year-old who calls you Auntie Rachel to come to Chicago for her first 5K, you can't not go.
Earlier this fall Val sent me a message about a conversation she'd had with her daughter Ivy that morning. She told Ivy that she would do the Girls on the Run 5K with her and that since she'd been working on me to come for a visit around that time, and since I'm a big runner, maybe we could all do the run together.
In the email Val recounted the conversation. She said she told Ivy about the 100-mile race I'd done in India (Ivy: Did she win? Val: She won the marathon piece, but I'm not sure about the rest). Val told her about some of my other adventures, how I've run for hours in the middle of the night, through forests, over mountains and across rivers. (Ivy: How do they cross the water? Val: Walking or running, I expect.) Val said they talked about how tough I am—said that I do marathons "all the time" and that I'm fast (OK, so Val doesn't always get everything right). Ivy wanted to know how fast I was. Could she beat me in a 10-step run? Val: I'm not sure about that. Auntie Rachel is fast in a marathon, but I'm not sure about 10 steps.
Ivy's final thought: How cool is it to have a friend like that?
You can't not go. So I went.
Val, having known me since we were 18-year-old college students who wore too much blue eye shadow and Fair Isle sweaters warned that this wasn't a race. It was just a fun run, she said, understanding that I can make knitting or taking a shower into a competition involving speed.
Plus, she said, the few times she and Ivy had tried to run together, there had been a fair amount of whining, lots of walking, and maybe even stopping. I was prepared for our outing to take a while and perhaps veer into the realm of not so much fun. I knew there would be plenty of giggles to be had during the rest of the weekend.
When I asked Ivy if she'd ever run nonstop that far before, she said yes. They'd done a practice 5K the week before. She told me that they'd been coached not to walk. When I asked why not, she said, "Because it's Girls on the Run, not Girls on the Walk." Then she mugged, punctuated her quip with a sing-song, "Oh yeah," and did that thing with her hands.
Ha ha, I said. Then I asked again. Why no walking?
Because, she said, it's good to push yourself.
"Oh yeah," I sang, and mimicked the hip-hop hands.
We didn't make a plan, but given our personalities, Saturday morning turned out exactly how we might have expected. Val, Ivy and I started out together, and then Ivy zipped to the outside, running in the grass beside the paved path in order to pass the crowds of girls and their grownup running buddies. We stayed together for a while, but then Ivy and I dropped her mom like a—well, like a mother who is thrilled that her daughter has become a runner and has an auntie who travels across the country to run with her.
There was no complaining, no signs of wanting to slow or stop. In the last half mile, I told Ivy that it should feel hard at this point. I told her that her mom had always finished her runs by sprinting to the end. (I didn't say that I never went with her.) We kicked it up another notch.
By the time the finish was in sight, we'd passed every girl we saw and had sped up to just over 7-minute pace. After we crossed the line, a woman told Ivy she got second place. Except we knew they weren't keeping track of places. They weren't keeping track of the times either, but there was a clock at the finish. I pointed out that the clock had started before we'd reached the line, so if we wanted to be technical, our time was a bit faster and we'd run a bit farther than 5K. Runners, I said, can be picky about stuff like that.
For many of the girls on that November morning in Chicago getting to the start line was an achievement. It was a thrill to see so many people milling around, hanging out under the banners of their schools surrounded by moms, dads, teenagers, and far-flung aunties. Even on a cold and damp day by the windy lake, people were out there, celebrating being fit and healthy and able to go three miles without stopping.
Running is perhaps the most democratic of sports; it accommodates a sheaf of motivations and affords access to anyone who realizes that it's not just ritualized torture or training for "real" sports. Ivy may be grow into someone who, like her mother, appreciates running as part of leading a healthy and active life, or she may turn into a version of her Auntie Rachel and thrive on competition. It will be, in some ways, her choice, and also be a function of her personality.
When I asked Ivy what she'd learned from Girls on the Run, she said it wasn't really about running. It was about gratitude, about being nice and supportive, pushing yourself, and finding inspiration and joy in being active. Ivy liked passing the other girls, but didn't want them to feel bad. She wasn't at all tired from her run, didn't brag about how well she did, but she wore her hat for the rest of the day.
How cool is it to have friends like that?


text:
Table of Contents
=================

  * [Message Formatting](#message-formatting)
  * [Say and Reply](#say-and-reply)
  * [SendUserMessage, SendChannelMessage and SendUserChannelMessage](#sendusermessage-sendchannelmessage-and-senduserchannelmessage)
  * [Code Examples](#code-examples)
    * [Bash](#bash)
    * [PowerShell](#powershell)
    * [Python](#python)
    * [Ruby](#ruby)

# MessageFormat method and Message Formatting
**Gopherbot** is designed to provide ChatOps functionality for a variety of team
chat platforms, with Slack being the first. Due to the technical nature of ChatOps,
characters like `_`, `*` and ` may need to be rendered in replies to the user;
at times omitting these characters (because they cause formatting changes) could
remove important information. To provide the plugin author with the most flexibility,
**Gopherbot** supports the notion of three message formats:
* `Raw` - text sent by a plugin with `Raw` format is passed straight to the chat platform as-is; this is the default if no other default is specified
* `Variable` - for the `Variable` format, the protocol connector should attempt to process the message so that special characters are escaped or otherwise modified to render for the user in a standard variable-width font; for Slack, special characters are surrounded by nulls
* `Fixed` - the protocol connector should render `Fixed` format messages in a fixed-width block format

The `MessageFormat(raw|variable|fixed)` method returns a robot object with the specified format. A plugin can use
`GetBotAttribute("protocol")` to determine the connector protocol (e.g. "slack") to make intelligent decisions
about the format to use, or modify the content of raw messages depending on the connection protocol.

# Say and Reply
`Say` and `Reply` are the staples of message sending. Both are generally used for replying to the person who spoke to the robot, but `Reply` will also _mention_ the user. Normally, `Say` is used when the robot responds immediately to the user, but `Reply` is used when the robot is performing a task that takes more than a few minutes, and the robot needs to direct the message to the user to update them with progress on the task. Both `Say` and `Reply` take a `message` argument, and an optional second `format` argument that can be `variable` (the default) for variable-width text, or `fixed` for fixed-width text. The `fixed` format is normally used with embedded newlines to create tabular output where the columns will line up. The return value is not normally checked, but can be one of `Ok`, `UserNotFound`, `ChannelNotFound`, or `FailedMessageSend`.

# SendUserMessage, SendChannelMessage and SendUserChannelMessage
`Say` and `Reply` are actually convenience wrappers for the `Send*Message` family of methods. `SendChannelMessage` takes the obvious arguments of `channel` and `message` and just writes a message to a channel. `SendUserMessage` sends a direct message to a user, and `SendUserChannelMessage` directs the message to a user in a channel by using a connector-specific _mention_. Like `Say` and `Reply`, each of these functions also takes an optional `format` argument, and uses the same return values.

# Code Examples
## Bash
```bash
# Note that bash isn't object-oriented
Say "I'm sending a message to Bob in #general"
SendUserChannelMessage "bob" "general" "Hi, Bob!"
RETVAL = $?
if [ $RETVAL -ne $GBRET_Ok ]
then
  Log "Error" "Unable to message Bob in #general - return code $RETVAL"
fi
```

## PowerShell
```powershell
$bot.Say("I'm sending a message to Bob in #general")
$retval = $bot.SendUserChannelMessage("bob", "general", "Hi, Bob!")
if ( $retval -ne "Ok" ) {
  $bot.Log("Error", "Unable to message Bob in #general - return code $retval")
}
```

## Python
```python
bot.Say("I'm sending a message to Bob in #general")
retval = bot.SendUserChannelMessage("bob", "general", "Hi, Bob!")
if ( retval != Robot.Ok ):
  bot.Log("Error", "Unable to message Bob in #general - return code %d" % retval)
```

## Ruby
```ruby
bot.Say("I'm sending a message to Bob in #general")
retval = bot.SendUserChannelMessage("bob", "general", "Hi, Bob!")
if retval != Robot::Ok
  bot.Log("Error", "Unable to message Bob in #general - return code %d" % retval)
end
```


After shooting film pretty exclusively for 18 months, I have grown to love the process of film. I love how it makes me slow down and makes me more intentional in my shots. So it may seem weird that I have decided to start shooting digital again. Let me explain why.
About a month ago I was looking through past albums of photos of my kids and I noticed that I had so many unscripted, documentary style photos of them and our day to day lives. I realized that since I started shooting film I am taking a lot less of those types of photos and it made me feel sad. I also realized how much I missed that style of shooting. The ability to click away once in awhile and not worry about how much money you are spending. The ability to shoot in many different lighting scenarios indoors and not worry about how I loaded ISO 400 film and already shot half the roll at that rating. Because life doesn't always happen in gorgeous light but it still can be beautiful to capture. Then a few weeks later I did my business expenses for the year and saw I spent over $2,000 on the buying/developing/scanning of film and it made my jaw drop. Luckily I am able to sell my film photos through Stocksy but still - that could have been an AMAZING vacation somewhere!
Some friends suggested that I shoot digital for a day or two and see how I feel about it. So I did. And honestly I felt the same as I do about film. Because in the end I care about WHAT was captured, not HOW. Sure the film process is fun, to slow down, take your time, think through everything. But its also fun a lot of fun to document and click at will, trying lots of angles and being a fly on the wall.
I know I could have shot these on film too - but the difference is that I didn't run in front of her to take a meter reading, interrupting the moment. I didn't say have to say "wait! do that again!" or "can you move here?".
So now I feel pressure to decide, am I film shooter or a digital shooter - especially for my client work. And I honestly don't have an answer to that yet. I won't stop shooting film - but I won't limit myself to it either.
In May we took a little vacation to Isle of Palms, SC. We booked the same place we stayed at 2 years ago - it is such the perfect spot. You go out the back door and are on the beach. You step out the front door and you are at the pool. We spent our time going between the pool and the beach and collected sea shells and skeleton crabs daily. I only took film cameras with me and it was so nice. No taking a hundred shots and looking at the LCD screen - just one shot and move on. My camera didn't feel like an appendage like it used to. I took lots of photos but these are some of my favorites. These are a mix of Portra 400, Fuji400 and Portra160.
Here are some of my favorite photos from the last few months on film. All of these were shot on 35mm and most are Portra 400. All of these were scanned on my new-to-me home scanner, a Noritsu LS-600 that I bought from AAA imaging. I can't recommend getting this scanner if you are at all interested in scanning your photos at home. It gives you full control to the final look of your photos and is very easy to use.


While it may not have been on the shelf for over a decade, The Banishment is not only the second feature film from director Andrey Zvyaginstev, but it is now, 11 years after its initial debut, finally arriving in theaters stateside.
Yes, you've read that correctly. Arguably today's greatest Russian filmmaker, Zvyaginstev is the subject of a new mid-career retrospective at New York's Museum of Modern Art, and as part of that series (running January 12-24), MoMA will be giving the director's sophomore effort its premiere US theatrical run, a full decade-plus after its 2007 bow. A dense, expertly crafted feature, this nearly three-hour long familial epic followed Zvyaginstev's debut The Return, and helped launch the filmmaker into a stratosphere finding him getting comparisons to names like Tarkovsky.
The Banishment is a polarizing motion picture, a master class in the modern art of "slow cinema" (whatever that silly qualifier really means), based itself on a novel by William Saroyan, The Laughing Matter. Actor Konstantin Lavronenko returns here as the patriarch of a family, Alex, living in an unnamed locale who, after an event viewers learn little about, packs his family up and moves to the countryside. All Zvyaginstev lets the viewer in on is the fact that Mark gets a bullet removed from his arm, and hurries his family out to a remote cottage. Oh, and once they arrive to the said cottage, Alex's wife Vera, informs the collective that she's with child, and not one conceived with her husband. Informed by family that he ultimately has two choices in this situation, either kill her or forgive and terminate the pregnancy, Alex forgives and the pregnancy is in fact terminated. However, something doesn't seem to be right, and as the film progresses Alex and Vera must make choices and come to terms with those decisions in a profoundly moving way.
A troubling, admittedly heavy handed feature, The Banishment is an assured, if ultimately ham-fisted, experiment in mood and atmosphere that is very much keeping in step with Zvyaginstev's project writ large. Heavily focused on societal and familial interplay, the story here has great breadth, if not much actual character depth or insight. Clocking in at a pinch over 150 minutes, Zvyaginstev's film isn't so much focused squarely on characters that have fully fleshed out inner lives or backstories (again, we know little to nothing about anyone we come in contact with), instead fancying itself as something much more oblique. Driven by long scenes that play out more so on the faces and in the gestures of our characters, the film is a moving work of filmic physicality, if not one of any real import narratively. And even then that seems to be unfair, but only because to call the film manipulative would be to deny the director any real admiration for his craft. The story here is inherently moving and the performances do add a level of humanity that is lacking from the script or the narrative itself. But at its cumbersome runtime and with molasses-like pacing, The Banishment pales in comparison narratively to his previous work, or even the brilliant Elena which would arrive four years later.
All of that taken into account, this might be the director's single greatest achievement as a visual storyteller. Perusing this new retrospective will do little to diminish claims that Zvyganistev is possibly today's great Russian master, and this is an absolute tour de force aesthetically. Again, the film is fueled heavily by Zvyganistev's patented use of long takes and static scenes made all the more potent by the burst of life from his fluid camera work when he does decide to get the camera in motion, and these frames are true pieces of art.
From the breathtaking opening sequence to some of the static shots of our characters simply in the moment, there are truly unforgettable shots abound within The Banishment. With the help of photographer Mikhail Krichman, the film is inspired heavily by Tarkovsky, not just in its oblique narrative but also in its use of light and shadow, all seemingly haunted by the heavy gray hue that seems to tint everything into a lower register, if you will. Exterior sequences are rich and vibrant, almost verdant in comparison to the brooding interiors that are as claustrophobic as they are textured and rich.
In context of this superlative retrospective, The Banishment feels like a minor work from a master craftsman. However, when taking Zvyganistev's name in context of filmmakers of his generation, one realizes the true power of that initial assesment. While The Banishment does lack the same emotional heft as much of his work and feels less thematically weighty in comparison, it's also one of the director's strongest visual statements. Whereas most of the films here are focused on Russia, its history and its political and sociological strife, this sees Zvyaginstev working out things that feel more specific, almost noir-like. It may be a tough sit given its runtime, but there really are few films like The Banishment, for good and for ill.


text:
Does the crossover from perturbative to nonperturbative physics in QCD become a phase transition at infinite N ?
J. Kiskis Department of Physics, University of California, Davis, CA 95616
R. Narayanan Department of Physics, Florida International University, Miami, FL 33199
H. Neuberger Rutgers University, Department of Physics and Astronomy, Piscataway, NJ 08855
We present numerical evidence that, in the planar limit, four dimensional Euclidean Yang-Mills theory undergoes a phase transition on a finite symmetrical four-torus when the length of the sides l decreases to a critical value lc. For l>lc continuum reduction holds so that at leading order in N, there are no finite size effects in Wilson and Polyakov loops. This produces the exciting possibility of solving numerically for the meson sector of planar QCD at a cost substantially smaller than that of quenched SU(3).
1. Introduction. Nonabelian gauge theories in four dimensions interact strongly at large distances and weakly at short distances. The major conceptual achievement of lattice gauge theory has been to show that the continuum limit contains both regimes and interpolates between them in a smooth manner. At present, only numerical simulations can bridge these two regimes.
It has been a long held hope thooft that the task would simplify at infinite number of colors N. In its most optimistic version, the hope is that somebody will come up with an analytic solution to the N=∞, "planar", limit at all scales, and that it also will be feasible to compute 1N corrections. We are far from attaining this goal, but there has been recent progress on similar, albeit vastly more constrained theories strings , the most notable example being N=4 SUSY YM. The exact explicit solution of the planar limit in this case is limited to extreme cases, the simplest among them being when the 't Hooft coupling (λ=g2YMN) is taken to infinity. The general case has been mapped into a two dimensional field theoretic problem which is not yet fully understood. The 1N corrections will come from the interactions in IIB string theory expanded around an AdS5×S5 background stabilized by a non-trivial RR flux. At large λ many answers can be obtained by relatively simple calculations of small perturbations around this supergravity background.
In pure YM, we do not have a free coupling constant: instead there is nontrivial scale dependence reflecting the breaking of conformal invariance. A simple way to visualize the situation is to consider Bjorken's "femto-universe" bjorken , where one studies the Hamiltonian of QCD restricted to a small three dimensional box of side l. Equivalently, one can not only shrink the system (which takes care of linear momentum) but also raise its temperature (which deals with frequencies). The latter situation is best described by Euclidean field theory on a four torus. A remnant of Lorentz invariance is preserved when the temperature and linear size of the torus are related so that in Euclidean space the four torus has sides of equal length. As l is varied, the bulk physics of the system is perturbative for lΛQCD<<1 and nonperturbative for lΛQCD>>1. Thus, the role of the coupling is taken up by l.
In this paper, we consider SU(N) pure gauge theory in the planar limit on a four-torus of side l. The most basic question is whether, as a function of l, this system undergoes any phase transitions at N=∞. There can be such transitions because N equals infinity: for finite N all these transitions will be smoothed out into crossovers. It is possible that when the torus is taken to infinite four-volume in a specific way, the crossovers become transitions even at finite N. How the various transitions merge into a coherent picture is a question that we have only begun to explore.
Recent work in three dimensions cek3 has shown that when l is decreased from infinity, there will be a transition at l=lc. For l>lc, the system realizes a continuum version of Eguchi-Kawai reduction ek , whose salient feature is that expectation values of arbitrary Wilson loops are exactly l-independent once N=∞. This continuum Eguchi-Kawai reduction is a property that is natural for a system of free strings but more difficult to understand in field theoretical terms where, in order to erase the perturbative l-dependence, one is required to enlist an averaging over a moduli space of minima of the classical action. In this paper, we show that essentially the same effects work in four dimensions as well.
2. General phase structure. We used a single plaquette Wilson action as the cost of simulation increases with the number of colors N as N3, making the simplicity of the action a relevant resource consideration. We worked on tori whose sides consist of L lattice sites. The physical side length is l=aL, where a is the lattice spacing. L was varied from 1 to 10. The parameter N was chosen to be a prime number, taking the values N=23,31,37. The preference for prime N is because the transition we found has to do with Z(N) groups, and for prime N, Z(N) does not have subgroups that could confuse the picture. In one case, we did a simulation at N=27 and found nothing unusual, so it is possible that the choice of prime N values was unnecessary.
S=β4N∑x,μ≠νTr[Uμ,ν(x)+U†μ,ν(x)] (1)
Uμ,ν(x)=Uμ(x)Uν(x+μ)U†μ(x+ν)U†ν(x) (2)
We define b=βN=1λ and take the large N limit with b held fixed. As usual, b determines the lattice spacing a. The lattice is a symmetric torus of side L. The gauge fields are periodic. x is a four component integer vector labeling the site, and μ either labels a direction or denotes a unit vector in the μ direction. The link matrices Uμ(x) are in SU(N).
There is a Z4(N) symmetry under which
Uμ(x)→e2πıkμNUμ(x) (3)
for all x with xμ=cμ. The integers cμ are fixed, and the integers kμ label the elements of the group; cμ,kμ=0,1,..,L−1. Changing the cμ's amounts to a local gauge transformation.
Polyakov loops are denoted by Pμ(x) and defined by:
Pμ(x)=Uμ(x)Uμ(x+μ)Uμ(x+2μ)..Uμ(x+(L−1)μ) (4)
Under the above symmetry, Pμ(x) gets multiplied by a phase. The gauge invariant content of Pμ(x) is its set of eigenvalues (the spectrum) eıθPi, i=1,2...,N. The ordering is not gauge invariant, and there is a constraint that detPμ(x)=1. Under a Z(N) transformation, the set of eigenvalues is circularly shifted by a fixed amount. The spectra of Pμ(x) and of Pμ(x+jμ) are the same for all j=0,1,2....,L−1. Wilson loops are defined similarly to Polyakov loops, only they are invariant under the Z4(N). Often we shall speak about the angles θPi, thinking about them round a circle and referring to them also as the "spectrum".
At a given L, we increase b gradually, until a point is reached where one of the four Z(N) factors, acting in a randomly picked direction μ, breaks spontaneously. The breaking is reflected by a change in the spectra of Pμ(x) away from a form symmetric under circular shifts. This happens when a gap larger than 2πN opens up in the the angle spectrum at some random location round the circle. This event can be detected in various ways.
At infinite N, six phases are encountered as b is varied from zero to infinity on a lattice of size L4 so long as L≥9. In the range 0<b<0.36 the system is in a "hot" phase (denoted by "0h"), where the Z4(N) is preserved and the 1×1 Wilson loop has no gap in its spectrum. As b increases one goes into a "0c" phase, where the Z4(N) symmetry still is preserved, but the 1×1 Wilson loop now has a gap in its spectrum. The gap is centered at the point −1 on the unit circle, so that charge conjugation is also preserved. Next one goes into a "1c" phase, where exactly one factor of the global Z4(N) is broken. As b increases further, additional factors of Z4(N) successively break until the phase "4c" is reached, which extends all the way to b=∞. For 5≤L≤8 the phases "0c" and "1c", including the transition between them, can be extended downwards in b, as metastable phases, into the "0h" phase region. Thus, using metastability, we can extend most of the phase structure of interest from L≥9 to L≥5. For L≤4 the stable"0c" phase is "squeezed" out, and we are left with only five phases. The case L=1 is the original Eguchi-Kawai model. All this holds with Wilson's single plaquette action and might change with a different lattice action. However, physical properties that survive the continuum limit should be insensitive to the choice of action.
The "0c" phase is the most interesting phase because there planar QCD exhibits confinement and stringy behavior at large distances and field theoretic asymptotic freedom at short distances. The phase "4c" is the phase where planar QCD is well described by Bjorken's femto-universe heated to high temperature.
There is little doubt that the "4c" phase survives in the continuum limit. This means that there exists a finite range of torus sides l between zero and some small scale where planar continuum QCD is in a "4c" phase. There also is little doubt that the "0h" phase does not have a continuum limit, i.e. there is no finite range of l-values in which the continuum system is in a "0h" phase. In other words, the "0h" phase is a lattice artifact. In this paper, we shall present evidence that the "0c" phase does have a continuum limit, describing the system in the range ∞>l>lc. More work will be needed to complete the continuum phase diagram and see in detail how the system goes from the "0c" phase all the way to the "4c" phase as the torus is shrunk in size.
3. Numerical method and results. We simulated the system using the Monte Carlo method employing heat bath updates and overrelaxation updates. The heat-bath updates amounted to sequential SU(2) updates, going over a set of N(N−1)2 of SU(2) subgroups identified by choosing two distinct integers between 1 and N cabmar . For most of the values of b we used, each SU(2) update was done using the Kennedy-Pendelton method kenpen . For few small values of b we used the original Creutz method creutz2 . The cost of a heat-bath update goes as N3 as N increases.
The overrelaxation update was a full SU(N) update creutz ; phillipe1 ; phillipe2 and had a comparable cost. Our implementation went as follows:
The portion of the action S that depends on a particular link matrix, denoted by U, SR(U), is given by
Tr[UΣ]=12[SR(U)+iSI(U)] (5)
with real SR,I(U). Σ are the "staples", a positive number (the coupling) times a sum of simple unitary matrices. Σ is determined by U and when this is not evident from the context we shall use the notation ΣU. With probability one, Σ has non-zero determinant permitting a unique definition of a unitary matrix VΣ:
VΣ=1√ΣΣ†Σ, detVΣ=detΣ|detΣ|≡eiΦΣ (6)
VΣ is calculated as follows: ΣΣ† and Σ†Σ are diagonalized using the Householder method. The eigenvalues are distinct with probability one and make up a positive diagonal matrix D. The diagonalizing matrices provide two representations of D: D=XΣ†ΣX†=YΣΣ†Y† and, finally, we end up with VΣ=Y†X.
Taking ΦΣ to obey π≥ΦΣ>−π we define a new SU(N) matrix by
V=e2ıΦΣNV†ΣU†V†Σ (7)
The update starts by "offering" the replacement U→V. The new action is given by
SR(V)=cos(2ΦΣN)SR(U)+sin(2ΦΣN)SI(U) (8)
For large N we expect SR(U) to be order N2 and SI(U) to be order N. This implies that the change in action is order one and hence there is an order one probability of making a large move in configuration space. In the Metropolis step, the a priori probability for change is unity for the U→V transition and zero for anything else. Applied twice, this transition becomes the identity; therefore the Metropolis step only depends on R, the ratio of the Boltzmann factors.
R=esin(2ΦΣN)SI(U)−[1−cos(2ΦΣN)]SR(U) (9)
The acceptance probability for the change is taken as min{1,R}; this satisfies detailed balance.
We found that the acceptance rate for the overrelaxed update was over 95% for all our N and b values. We employed a mixture of heat bath and overrelaxation steps of equal amounts. A more comprehensive independent study of full SU(N) overrelaxation has been recently presented in phillipe2 .
Our Polyakov loops (as well as various Wilson loops we looked at) were built out of ~Uμ(x) matrices, rather than the original link matrices Uμ(x). The ~Uμ(x) matrices are defined in term of the Uμ(x) by an iterative "smearing" procedure ape . One step in the iteration takes one from a set U(n)μ(x) to a set U(n+1)μ(x), by the following equation:
X(n+1)μ(x)≡αU(n)μ(x)+1−α6ΣU(n)μ(x)
U(n+1)μ(x)=X(n+1)μ(x)1√[X(n+1)μ(x)]†X(n+1)μ(x) (10)
We chose α=0.45 and iterated L-times:
~Uμ(x)=U(L)μ(x) (11)
This has little effect on Polyakov spectra at smaller b values, but, after the transition the well known ultraviolet renormalization vergeles of Polyakov loops will reduce all traces TrPkμ(x,μ), effectively making the angle spectrum look more uniform and making the transition harder to discern. This effect is reduced by the above smearing. In our three dimensional work cek3 we could do without smearing, since the ultraviolet divergence is milder. The Polyakov loops in terms of the smeared links have the same symmetry properties as the Polyakov loops in terms of the original links and therefore provide perfectly adequate order parameters for Z(N) symmetry breaking.
Figure 1: History of the variable p(~Pμ) for each direction. We see the evolution from a state where one of the four Z(N) factors is broken to one in which all four are preserved.
Figure 2: History of the variable p(~Pμ) for each direction. We see the evolution from a state where all four Z(N) factors are preserved to one where one factor is broken. During the first fifty passes (before the first measurement) Polyakov loops in direction 3 have acquired some structure but, ultimately, direction 2 is selected for breakdown and the Polyakov loops in the other three directions converge to a symmetric state.
Figure 3: Here we show the difference between the distributions of the largest inter-angle spacing for smeared Polyakov loops in different directions in the phase where exactly one Z(N) factor is broken. (At other couplings, where no Z(N) factor is broken, all four distributions look like the three unbroken ones here).
Figure 4: Angle distributions in four directions in the 1c phase. There are twenty seven periods in the superposed oscillations. The peaks, except close to the gap associated with direction 3, are equally spaced.
Figure 5: The transition ranges compared to possible two loop renormalization group curves with tadpole improvement.
(bmin,bmax)
5 31 (0.3470,0.3480)
10 23 (0.3662,0.3678)
Table 1: Summary of ranges for the "0c" to "1c" transitions.
We looked at several observables. Two were the most useful for identifying the phase transition. The first is bhn
p(~Pμ)=1N2⟨N∑i,j=1sin212(θ~Pi−θ~Pj)2⟩ (12)
The averaging is over the 3-plane perpendicular to μ and over configurations. Equally spaced angles respect the Z(N) symmetry in the μ direction and maximize p to 0.5. When the angle-spectrum starts getting modulated and opens a gap, p drops below 0.5. The second observable that we found useful, ρ(smax), is constructed as follows: Among all spacing between adjacent angles round the circle select the largest one, smax. Its probability distribution, ρ(smax), strongly depends on whether the Z(N) associated with the direction under consideration is broken or not. When the Z(N) is not broken the distribution just reflects universal angle repulsion. However, when a gap opens in the spectrum, it dominates the distribution. Of course, looking directly at the histograms of the angles associated with individual directions remains the most direct way to observe the behavior of the system. Figures 1 and 2 show examples of the evolution of p when the run started from a typical configuration in the wrong phase. Figure 3 shows an example of the difference between the distribution of the maximal level spacing in the direction corresponding to a broken Z(N) and the maximal level spacing distributions in the other directions, whose corresponding Z(N)'s are unbroken.
Figure 4 shows an example of the angle distributions associated with the four independent directions when the system is in the "1c" phase. The superposed oscillations reflect the global SU(N) constraint on angle values. For a SU(N) matrix drawn with Haar probability measure a relatively straightforward calculation gives, with ξ=θPπ:
p(ξ)dξ=[12+(−1)N−1Ncos(Nπξ)]dξ (13)
Thus, the expected swing between minima and maxima should be 227 in our plot and this fits more or less. Also, because 27 is an odd number, we have a maximum, rather than a minimum, at ξ=0.
The "0c" to "1c" transition also breaks hypercubic invariance since one direction is randomly selected by the breaking. The "0c" to "1c" is transition most likely is of first order, and therefore generates hysteresis cycles for relatively short runs. Our runs were of the order of few thousands and did not allow a very precise identification of the location of the transition or a definitive determination of its order. We ran hysteresis cycles looking for two extremes which determine the range we believe the true transition is in. At the first extreme we start from a configuration typical of the "1c" phase, and see that the system disorders, restoring the remaining Z(N) factor. This is what happens in Figure 1. For our larger volumes (L=9 and L=10) we try to find the largest b where the configuration evolves in this way within at most 3,000-4,000 passes over the lattice. At the other extreme we start from a totally symmetric configuration and observe the system evolving into a "1c" phase, like in Figure 2. Here we try to find the smallest b where this scenario is realized. The ranges in b so obtained were of length somewhere between 1×10−3 and 3×10−3. A few checks, performed by varying N at fixed L , showed that the finite N effects were at most of order 5×10−4. With this accuracy, we were able to check whether the location of the transition bc(L) varies with L in a way compatible with asymptotic freedom. Our numerical work used up about one year's worth of time on a dedicated desktop PC with a modern processor and 2GB of memory. With this rough map of the phases in place, one could proceed to finer determinations, but this would require one or two orders of magnitude more computer time.
If the transition we are searching for truly is a continuum phenomenon, the inverse of the function bc(L), Lc(b), should behave for b→∞ as:
Lc(b) ∼ L0(1148π2b)51121e24π2b11 (14)
The asymptotic regime is not reached at L∼10, but by the "tadpole" lepage replacement
b→bI≡be(b) e(b)=1N⟨TrUμ,ν(x)⟩ (15)
the asymptotic behavior is supposed to set in much earlier teperolder . The numerical effect the replacement of b by bI has is summarized by the approximate relation δbI∼1.3δb which holds in the vicinity of the transition at L=9. With b replaced by bI, the theoretical curve becomes somewhat steeper. The plaquette expectation value, e(b), is taken on the symmetric side of the transition and using the MC data, can be well fitted in the range of interest by:
e(b)≈1+a0b+a1b21+a2b+a3b2 (17)
When b→∞, e(b)=1 at leading order in 1b and bI=b. We varied L between 4 and 10 and b between .344 and .366. e(b) was reasonably well fit by a0=−0.58964, a1=0.08467, a2=−0.50227, a3=0.05479. Hence,
L0=LI0e24π2(a0−a2)11≈0.1524LI0 (18)
The ranges we determined for the "0c" to "1c" transitions are reasonably well described by a range of LI0 constants between 0.245 and 0.275. Figure 5 shows the ranges we established on a plot together with lines representing the tadpole improved two loop renormalization formula with different amplitudes. The relative consistency of this fit constitutes our numerical evidence that the transition is physical, occurring in the continuum at a finite scale. The relevant numbers for the "0c" to "1c" transition ranges that went into figure 5 are collected in Table 1.
Let us first discuss all the stable phases, ignoring the metastable ones. In addition to the "0c" to "1c" transition we have been focusing on, the system also undergoes a lattice transition from "0h" to an "Xc". For small volumes, X will be large than 0, but, starting with L=9, X=0. The "0h" to "Xc" (X≠0) transitions at smaller L values are strongly first order and occur at b=bBULK. A similar transition also occurs at L=∞ for any N≥5 creutz3 . In this case this bulk transition is well known to be associated with a large jump in e(b) at bBULK. At finite N the transition does not break any symmetry.
At N=∞, and any finite but large enough L, the location of the bulk transition can be estimated with the help of campost to occur at bBULK=0.3600. (For an earlier determination, see okawa ). So long as L>8, the bulk transition again breaks no symmetry: It takes the system from the "0h" phase to the "0c" phase. Again, e(b) undergoes a significant jump at bBULK. In addition, with N=∞, the average eigenvalue distribution of the plaquette variable now undergoes also a qualitative change, opening a gap at angle π when b increases through bBULK.
We have investigated the L=1 case in some detail. This case is special, and the algorithms we used are somewhat different; since this is a bit of a side issue, we shall not elaborate in detail. We found evidence for five stable phases. Examples of firmly determined couplings in each phase are: b=0.150 in "0h", b=0.205 in "1c", b=0.235 in "2c", b=0.275 in "3c" and b=0.320 in "4c". We also found approximate locations for the transitions: the "0h" to "1c" transition occurs at b=0.19, the "1c" to "2c" transition occurs at b=0.22, the "2c" to "3c" transition occurs at b=0.26 and the "3c" to "4c" transition occurs at b=0.30.
It is easy to keep the system in "cold" ("Xc") phases even for b<bBULK. These phases are in principle metastable. However, in practice, for large enough N, (N≥20), the "Xc" phases are very stable in a Monte Carlo simulation. This makes it possible to investigate the "0c" to "1c" transitions of interest also for L≤7. All our values for bc(L) for L≤7 have bc(L)<bBULK.
4. Relation to the finite temperature deconfinement transition. Suppose we studied a torus of unequal sides, Lμ. The most plausible assumption is that again one Z(N) will break first as b is increased from the phase where the entire Z4(N) is preserved. Only now, which Z(N) breaks will no longer be arbitrary, but, rather, the one associated with the direction with the shortest Lμ is selected to break first. Call this direction μ0. The arguments from our previous paper cek3 say that for b's smaller than this transition point there is no dependence on the parameters Lμ. Hence, up to the transition, all Lμ's can be considered as infinite. But, we could equally well think about the Lμ with μ≠μ0 as infinite, while keeping in mind that Lμ0 is finite. This puts the system in a situation considered in gandn . Then, there would be a transition as b is increased, even for finite N. This would be a finite temperature transition, which is first order at large N, and has a finite limit at N=∞, Tc teperolder . The simplest consistent assumption is that lc=1Tc. This is in full agreement with the viewpoint of the authors of teperrecent .
In reference teperolder the string tension in lattice units is found to behave approximately as follows:
1√σ∼1√σI0(1148π2bI)51121e24π2bI11 (19)
With a simple minded extrapolation to N=∞ we obtain from teperolder √σI0≈6.05. Combining this with our value of LI0≈0.26 we find 1L√σ≈0.64. The most up to date value for the infinite N value of Tc√σ can be found in teperrecent . It is about 0.60. Thus, lc=1Tc is consistent with what we know to date, but the evidence is not compelling.
The special physical effects surrounding the finite temperature transition in pure YM in the planar limit were first discussed in thorn . More aspects have been studied in morefinitetemp . Earlier numerical studies of the infinite N finite temperature transition in SU(N) gauge theories can be found in morenumfinitetemp .
5. Preserving l independence in the meson sector. We have emphasized the volume independence of the pure gauge theory in the large l phase. It is natural to ask whether fermions moving in the gauge backgrounds typical to this phase also will behave as if the volume were infinite. This question needs to be sharpened because we are considering here only a finite number of flavors, which makes the fermions "quenched" as a result of the large color (N) limit. The fermions simply provide definitions for particular nonlocal gauge invariant observables, but do not influence the distribution of the gauge background. The l independence holds only for single traces of Wilson loops, and there is a way even for a very large loop to fold up into the l4 torus. But a trace of the product of a fermion by an antifermion propagator only depends on the end points, not on a path, so there seems to be no way to describe a separation that would not fit into the torus.
However, there is a trick which seems to allow the definition of fermionic observables on the finite torus which nevertheless describe propagation at larger distances. This trick is at the heart of our proposed shortcut to the planar limit in the meson sector. It is a simple generalization of work in gk ; bhn . This produces a prescription for calculating q¯q properties in the large N limit while preserving volume independence. At the diagrammatic level it is easy to understand what we have done gk , but, to be sure, the arguments supporting this construction are far from rigorous. For this reason, we have undertaken an extensive test in two dimensions 2d , which came out favorable. We believe that this provides sufficient grounds to go ahead and see what happens in four dimensions.
To be concrete, let us consider the scalars M(x)=1√N¯ψχ(x) and ¯M(x)=1√N¯χψ(x). These meson fields are color singlets. x and y are sites on an L4 lattice. Normally we would expect only momenta Kμ=2πLkμ with kμ=0,1,...,L−1 to be accessible. We claim that large N reduction makes it possible to interpret data obtained on the L4 lattice as providing predictions for momenta on an (NL)4 lattice, at leading order in the 1N expansion. The momenta are now written as K+Q where K is as before, and Qμ=2πNLqμ with qμ=0,1,...,N−1. We are after an expression for the meson-meson propagator, S(K+Q). We first define a shifted link field U(q)μ(x) by
U(q)μ(x)=e2πıNLqμUμ(x) (20)
and denote the fermion ψ−¯ψ and χ−¯χ propagators on the lattice, in a given gauge background, {U}, by G(x,y,{U}). The shifted gauge field links are not in SU(N). Let us consider the collection of all Wilson and Polyakov loops made out of the U(q)μ(x) variables as elementary links. Before taking the trace all the unitary matrices are back in SU(N) and could have been obtained from elementary links that also are all in SU(N). This works because our observables are gauge invariant even under U(1) gauge transformations that take the links out of SU(N). The dependence on the integers qμ is removable by a Z4(N) symmetry transformation. Thus, so long we treat a fermionic observables that depends on a single gauge field background there is no dependence on qμ so long the Z4(N) symmetry is not broken. In other words, we have to be in the "0c" phase. The qμ asume their role as momentum "gap fillers" only when we consider an observable that depends on different gauge field backgrounds. The Dirac and color indices of G(x,y,{U}) are suppressed. We now define the quantity
R(x,y;{U},q)=−1NTr[G(x,y,{U(q)})G(y,x,{U(0)})] (21)
The trace in the above equation sums over color and Dirac indices. The key formula for S(K+Q) is given by:
S(K+Q)=∑xe2πıLk(x−y)⟨R(x,y;{U},q)⟩{U} (22)
The averaging over {U} restores translational invariance.
If we are not in the "0c" phase the procedure fails. One could try to impose a "0c" phase by quenching the links on a 14 lattice, but implementing the additional averaging puts too big a burden on the numerics and is likely less practicable than the procedure we propose here.
6. Conclusions. Our previous work cek3 and the present paper make a plausible case for the following scenario: Planar QCD on a torus of side l has a nontrivial phase structure as a function of l. When l decreases from ∞ to any l<lc, the system undergoes a phase transition where the global Z4(N) symmetry breaks spontaneously. It is likely that lc=1Tc where Tc is the infinite N limit of the finite temperature deconfinement transitions of SU(N) YM theory at finite N's. The precise determination of lc, including error estimates, and of the existence and locations of other continuum transitions needs substantially more numerical effort than invested to date, but is a feasible numerical project.
A distinctive property of the l>lc phase is the l-independence of arbitrary Wilson loops, which provides a continuum realization of lattice Eguchi-Kawai reduction. While the free energy does not depend on l at leading order in a generic, free, string theory with toroidal target space, among field theories, only certain gauge theories in the planar limit can exhibit such a property. This scenario, in turn, leads to the conjecture that at l>lc the l dependence of meson propagators can also be made to disappear at leading order in the 1N expansion by quenching, providing the opportunity for a numerical shortcut to the infinite N meson sector of SU(N) YM theory in infinite space-time.
7. Acknowledgments. R. N. acknowledges partial support by the NSF under grant number PHY-0300065 and also partial support from Jefferson Lab. The Thomas Jefferson National Accelerator Facility (Jefferson Lab) is operated by the Southeastern Universities Research Association (SURA) under DOE contract DE-AC05-84ER40150. H. N. acknowledges partial support at the Institute for Advanced Study in Princeton from a grant in aid by the Monell Foundation, where most of this work was done, as well as partial support by the DOE under grant number DE-FG02-01ER41165 at Rutgers University. Scientific Computing facilities at Boston University were used for part of the numerical computations.
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January and February are always busy at Sale Arts Trail HQ.
At the moment we are busy organising our events for 2017 with lots of new ideas, opportunities and collaborations.
We will have more news very soon but in the meantime if you are an artist or maker interested in exhibiting with us please send us your details.


Anyone can find peace when it's quiet..
In this blogpost, Caroline dishes on three things she's learned through teaching TT. Enjoy!
Should the knee be stacked in Warrior Two? A controversial question.
In this article Caroline explains why a yoga practitioner might not want to or need to stack their knee in Warrior Two.
You must be aware of the fact that acadamy will change your yoga practice – totally and absolutely. For me that means that the queues I hear during practice changed meaning after Academy - became highly personalized …. and it is as if my body learned to react to the different poses dependig on how I feel during yoga practice that day. That sounds cheesy? I know, it gets cheesy everytime I talk about Academy, can't help it! It is as if Academy hands you out a powerfull key to your body and mind …. You have to take it! TAKE IT!


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We are delighted to offer this large, double room to let within a recently renovated house in Eastville. Conveniently located with easy access to central Bristol, plenty of on street parking and close to public transport links.
Hall/entrance; well lit with hardwood flooring. Communal living area with hardwood flooring, character fireplace, dining table and chairs. Kitchen. Brand new and fitted white cabinets with black laminate worktop, red tiles, Large fridge freezer, washer/dryer, built in hob and oven. Garden area. Fenced/walled in, paved, washing line with room to sit out, space for bike storage and BBQ. Stairs/landing. Carpet on stairs and then hard wood flooring on upstairs landing.
Double room with shared bathroom. Suitable for professional working people only.
VIEWINGS Please include a contact telephone number and email in your response to arrange a viewing.


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